Pluggin for Multi-Cam?

I know that one of the features FCP boasts is multi-cam editing which FCHD doesn't support, But are they any companies out there who can provide a pluggin to add this feature to FCHD?
Any help welcomed
Andy T

When glibly saying that most people would never notice the difference - YOU are one of the few who probably will!
You might need to use the original camera timecode which FCE will not do.
However, Simon and Piero developed a filter which can be applied to a clip to reveal the original TC.
It costs the princely sum of NOTHING and can be downloaded here:-
http://homepage.mac.com/heywood_si/i5m/archives/2006/01/
Ian.

Similar Messages

Logging takes in the field for multi-camera set-up with OL

Is there any way to designate separate cameras or link shots (to be labeled as CamA or CamB) to advance takes and make notes simultaneously?
OL doesn't really seem set up to use with documentary style shooting with multiple cameras, but maybe there is some way around this?
I just want to be able to add takes in OL to multiple cameras without a lot of typing between each take...and add notes that are applicable to multiple cameras within one shot and one take.
Any ideas?

OnLocation CS5 has an entirely new feature set known as the File-Based Workflow that may be just what you are looking for. The basic steps are as follows:
PRE-PRODUCTION (IDEALLY)
1) Create a placeholder for one camera angle of a given scene/shot. (Consider using Adobe Story to prepare your script. Then you can hand the script off to OL and have it automatically broken down into scene-level placeholders. You will then still need to break those placeholders down to the shot level)
2) Use the Camera Name property to designate the camera for that shot. If you use the "auto-matching" process, which you will likely want to do if you're entering notes per take, then this data point will be used to automatically mate a set of clips from, say Camera A to the correct set of placeholders.
3) Fill in any other metadata that is common to other camera angles.
4) Duplicate the placeholder for other camera angles & shots of the scene. To do this, you can use either the Duplicate Placeholder command or, to create multiple duplcates, the Break Out Scene command, both of which are available in the context menu when you right-click a row in the shot list. Note that both commands work with multiple rows selected.
5) Customize each duplicate as appropriate.
6) Repeat for your other shots.
DURING THE SHOOT
1) [Strongly recommended] For multi-cam shoots, synchronize the date/time on all the cameras. Ideally, synch them all to the date/time on the computer running OnLocation. This greatly simplifies the auto-matching process by saving you the hassle of repeatedly changing the camera date/time in OnLocation.
2) Select placeholder(s) or clip(s) for the next shot.
3) At any time between starting and stopping recording of the take, click the Timestamp button (upper left corner of the Project/Shot List panel). This step applies a timestamp to the placeholder, which makes it possible for the auto-matching mechanism to determine which clip belongs with which placeholder.
4) Optional: Add temporal comment markers to timestamped placeholders, which will be aligned to the clip when you auto-match. (Note that PPRO does not recognize comment markers added in OnLocation.)
5) Repeat steps 1-3 for subsequent shots
AFTER TRANFERRING CLIPS TO THE COMPUTER
1) In the Media Browser panel, navigate to the folder where you copied the content.
2) Select the clips.
3) Click the Auto-Match button at the top of the panel. This opens the Auto-Match dialog.
4) if this is a multi-camera shoot, check the appropriate box and select the name of the camera that this content came from. The list for the Camera Name setting is populated from what you entered in the Camera Name field for all timestamped placeholders. [Be alert for unintended variants. For example, if you entered "Camera A" for some shots and "Cam A" for others, you'll see both versions in the list. Before proceeding, you should standardize the entries.]
5) Set the Camera Date/Time. If you synched the cameras' date & time to the computer's, then this step is not necessary (unless you previously set a Camera Date/Time offset in OL, in which case you will need to reset the Date/Time to match the computer's.)
6) Click OK to proceed with auto-matching. OnLocation will proceed to find the placeholder whose timestamp fits within the Start and Stop Recording times of one of the clips and, if relevant, whose Camera Name matches your selection. All metadata from that placeholder will be merged into the clip.
[Please note that all of the foregoing is from memory--I don't have OL CS5 installed on this home computer--so I may have gotten the names of some of the controls wrong. I'm pretty confident that the basic workflow is sound, however.]
Here's the help page for this feature. I'm afraid it's does not really cover the particulars for a multi-camera workflow. http://help.adobe.com/en_US/onlocation/cs/using/WS89e4fde9608114f41e5eb2de124b454ea2b-8000 .html
As for entering the same string in the Comment field (or any other metadata property) for multiple placeholders or clips simultaneously, simply select whichever rows in the Shot List that you want to edit, then in the Metadata panel edit whichever properties you choose to. Your changes will be applied to all selected rows (assuming they're editable--i.e., not read-only or offline, both of which apply only to clips, not to placeholders)

Does anyone know how to put 6 windows in premiere pro cc for multi cameras, for 6 cameras actually

Does anyone know how to put 6 wndows in premiere pro cc for multi cameras, for 6 cameras actually.

The workflow that Jim spelled out is for doing what's called a "multi-cam edit." This allows you to conveniently switch among different video clips, often from multiple cameras that shot the same performance or event. The end result is a segment where only one clip is visible at a time.
The way I read your question, what you want to do is show six clips all at once, which is typically referred to "picture in picture." To do that, follow the first 3 steps Jim provided. (By the way, in Step 2, the key is to stack the clips on six different tracks, as opposed to lining them up head-to-tail.) Then select each clip in turn and use the Position and Scale controls in the Effect Controls Panel to shrink it and move it where you want within the frame. Here's a tutorial video on this workflow: http://tv.adobe.com/watch/adobe-beginner-classes-with-dennis-radeke/episode-7-adobe-premie re-pro-picture-in-picture/.

I am trying to determine the new project preset for multi-camera video shot as follows: 3 Canon camcorders, main shot is DV (tape) (720x480), b-roll is DVD (mini-disk) (720x480), additional b-roll is AVCHD (1920x1080). Film is from a wedding, DV contain

I am trying to determine the new project preset for a multi-camera video shot as follows: 3 Canon camcorders,
Main shot is DV (tape) (720x480, 29fps) - ceremony and reception
b-roll is DVD (mini-disk) (720x480, 29fps) - bride preparations
additional b-roll is AVCHD (1920x1080, 29fps) - groom preparations and misc all day ceremony and reception.
Film is from a wedding, DV contains main footage so I assume it will need to be the base. I am planning to use the preset for DV-Widescreen. Is there a better option? I'm concerned about playback as the three appear to have different PAR. I'm using Premiere Elements 10 on W8.
Ultimately this will be burned for two formats - one for a DVD that can be watched on a widescreen TV, second for a short clip trailer to go on vimeo.
(And no I won't be doing this again for a wedding that I shoot.)

VDRAVES
Please review since I am not sure how you obtained Video 3 tall when you scaled Video 3 with Constrain Proportions in effect.
Before
After
It becomes a zoomed in effect to get rid of the black borders. But, there is no tall and thin involved anywhere.
And, after the Scale increase, you can always click on the screen and move the image around a bit
(without overdoing it to get black borders again).
After and an adjust
Please let us know if you are OK with the information above.
Thank you.
ATR

"Flatten" option for multi-camera is gone in new version of CC

It has been a couple months since I have used this feature, but it is gone now. Now when I right click on a multi-camera clip, the only option is "Enable" (or disable by uncheking it). The option to "Flatten"was a huge benefit, and it was sorely lacking in CS6. Please tell me that this feature is coming back, or more importantly how to get it back. I am working on a whole bunch of multicamera projects this month.
Thanks,
John

The flatten command remains for me on 7.2 running OSX 10.8.5, for multicam sequences created through the Project panel and by the old method of nesting a sequence in another sequence.
As evidence that this is CC7.2, note that two instances of the Media Browser are open, which was not possible until the new update.
I'm not suggesting that the command is missing in your case but only certifying that it has not been removed altogether. The more info you can provide about your case, the better the chance that we'll be able to figure out what's going on.

What is best practice for multi camera edit with differing lengths?

I have three cameras that took video of an engagement party. Camera A and B took it all (with some early extra material exclusive to each camera). Camera C took some, then stopped, then took more.
So I have four sets of clips - A and B which are complete, then C then D.
Should I create sequence 1 with A, B and C synchonised, then create sequence 2 with A, B and D synchronised, then sequence 3 with sundry early non-multi camera clips, plus sequence 1 plus sequence 2 then late non-multi camera clips?
Or can I synchronise A, B and C, then on the same timeline synchronise A, B and D? I'm concerned that the second synchronisation will put C out of sync.
What is the best way to approach this?
Thanks in advance.

A and B which are complete, then C then D.
I think you're looking at this in the wrong way. You have only three cameras, A, B and C, but you don't really have a D camera, as those are just other clips from camera C. You might call them C1 and C2 if you like, but calling them D seems to be confusing the issue, as it's still only three cameras, and three shots to choose from when cutting the sequence. (Except for the gap between C clips, where you will have only the A and B shots to choose.)
You can absolutely sync all the clips form camera C on the same sequence as A and B. And it will probably be easier to do so.

Viewing multi-cam monitor for multi-cam sequences not on track 1

Hi,
I just found out that the multi-cam monitor in the Program Monitor goes blank if the multi-cam sequence is not on track 1. Is there a way to fix this? Thank you in advance.

How do you toggle the track targeting so that you can see the multi-cam preview for two stacked multi-cam sequences? I'd like to cut between different takes and it'd be a pain to toggle every time. Final Cut Pro has no problem of doing this but it seems that Premiere is a little picky about track targeting. I attached an example of how the project would look like going through two takes of multi-cam sequences.

Adobe Premiere CC, Trying to Sync 2 camera for Multi cam edit.

Hi,
I am at present trying out Premeire CC, my workflow is usually a minimum of a 2 camera shoot for weddings, what I am trying todo in CC is to try and sync all the clips together for a multi cam sequence ready to edit.
I have followed various options fropm Adobe TV and some you tube videos with no luck.
I have 2 folders imported one folder for cam 1 and second folder for cam 2. I select all the clips and select the new multi cam option, and choose audio for syncing. CC status bar come up and looks like it is syncing, however at the end a error comes up saying one or more clips could not be synced.
at present with CS6 I put both camera footage on one timeline video 1 video 2, I then export as an xml, and use red giant plural eyes for syncing, I then import xml back into premiere, and all files are synced pretty good. I would say 90 to 100% of time without to many issues.
can some one advise if this is possble is CC, if so whats the best method. thank you
Windows 7 64
Baz
UK

Premiere Pro cannot do this automatically. You will need to create a multicam sequence for each pair of clips, cut those, and then add them to the main edit as needed.
Little tip: knowing that each segment will need it's own multicam sequence, let the cameras run until that segment is over.

Can you sync many clips at once for multi camera? Or do you have to do them one pair at a time?

I want to know if i can highlight all the clips form 3 different camera angles at once and just sync them for multi clip. Or if I should go through all the clips one by one...find both matches from the other angles and then sync them one at a time. I'm asking bec i tried syncing them all at once when I was using Final Cut and my computer crashed and I dont want my computer to crash again. Hope this makes sense.

I happily synced 2 video (with audio) and a separate audio track using Audio Sync so it seems the answer is yes. It doesn't always work for me but when it does it's a wonderful addition.

Solution for Multi Cam Crashes on Audio Sync?

I am having major issues when trying to create a multi-cam clip by syncing audio. It will process a few clips and then I will get a serious error message. I would say it occurs on about 8 of every 10 attempts. At first I thought it was because I was selecting too many clips (I'm shooting a doc and sometimes need to sync 100 plus clips from multiple cameras to multiple audio tracks) But it also crashes when I try to sync a single audio track to only a handful of clips.
I'm on an I-Mac mid 2011. I've updated the OS to Yosemite, no luck. Tech support said to upgrade my RAM to 16g, I did that and it still crashes. I've re-installed the software, still crashes. Reset the preferences, still crashes. I've installed the software on a new administrator account, still crashes. I've changed the renderer to software only, still crashes.
I also have a Macbook Pro Retina 2013 running OS 10.8. I've tried creating multi-cams by syncing audio on that computer as well. Still getting crashes. I've tried all the changes on the lap top that I did on the I-Mac (change renderer, re-install, new administrator, reset preferences, etc) Still getting crashes.
I've tried different projects, different footage, different drives, placing the media on the internal hard drives. Still crashes.
I'm assuming there must be a conflict of some sort, but can't figure it out. Tech Support has been less than helpful (when I can reach them) and I'm hoping someone knows a solution. I just moved to Premiere Pro and this issue might make it a non-starter for me.
Any thoughts would be appreciated.

Update: I just happened happened to have a pair of ath m50s lying around.... put them on and I can see that in the multi cam sequence, I can hear only out of the left ear... once I drag and drop something to my timeline the audio's good again...
Sorry for this question... operator???
I shoot tech videos on YouTube and I edit my own videos, so I guess I am the operator & observer here...
Am shooting a tutorial...
Cam 1 - My Camcorder that shoots the phone
Cam 2 - Actually a screen recorder that records the steps on screen & audio from webcam
Audio - Blue Spark Digital recording to audacity
Now if I merge Cam 1 & Audio or Cam 2 & Audio alls fine... I can check the audio meters and everythings the same as before
But if I create a multicamera sequence then the audio output is about 20% lower (and no Premiere's not using the audio source from Cam1 or 2 here since they are too low and am 100% sure its not either of those)
I guess am messing up something but am unable to identify what..
Syncronize Point - Audio
Track Channel - 1
Sequence Preset - Automatic
Audio Sequence Settings - Camera 1
Audio Channels Preset - Automatic (or Mono since my Blue Spark records in mono)
Camera Names - Enumerate Cameras
Any Idea where am messing up?
Ash
Message was edited by: C4ETech

Using Audio Sync for Multi-Cam Edits Premiere Pro CC

Hello everyone - I wanted to share some issues I've come across while using Audio to sync multiple camera angles....
For my music video shoot I have two cameras and an external recorder where I capture the audio and then edit in GarageBand or Adobe Audition. The problem I've discovered is that when I sync the clips using audio it will degrade the quality of my finalized audio clip.
Basically, something is happening to the audio clip quality once Premiere completed the synchronization process. I've rendered the video, exported the video etc... But there is still audio quality degradation.
I've compared this with Final Cut Pro X and the Audio in FCP X remains unchanged and is not altered in any way.
Has anyone else experienced this issue?

Update: I just happened happened to have a pair of ath m50s lying around.... put them on and I can see that in the multi cam sequence, I can hear only out of the left ear... once I drag and drop something to my timeline the audio's good again...
Sorry for this question... operator???
I shoot tech videos on YouTube and I edit my own videos, so I guess I am the operator & observer here...
Am shooting a tutorial...
Cam 1 - My Camcorder that shoots the phone
Cam 2 - Actually a screen recorder that records the steps on screen & audio from webcam
Audio - Blue Spark Digital recording to audacity
Now if I merge Cam 1 & Audio or Cam 2 & Audio alls fine... I can check the audio meters and everythings the same as before
But if I create a multicamera sequence then the audio output is about 20% lower (and no Premiere's not using the audio source from Cam1 or 2 here since they are too low and am 100% sure its not either of those)
I guess am messing up something but am unable to identify what..
Syncronize Point - Audio
Track Channel - 1
Sequence Preset - Automatic
Audio Sequence Settings - Camera 1
Audio Channels Preset - Automatic (or Mono since my Blue Spark records in mono)
Camera Names - Enumerate Cameras
Any Idea where am messing up?
Ash
Message was edited by: C4ETech

Pluggin for shaky camera

Somebody told me about a plugin in adobe premier. that makes the footage look less shaky. Is there a pluggin in final cut pro for that also.
thank you,
caleb kingston

ONCE -- a long time ago I used to do this by hand!!! Put a dot as an overlay and keyframe motion to that dot.
Not anymore. Now I generally send it to a program called shake if I really want to remove the jitters. After Effects might be able to handle this too...
However, here's a program you might try too...
http://www.apple.com/downloads/macosx/video/istabilize.html
I'm sure there are other ways also.
CaptM

Does Final Cut allow for "multi-cameras," like Vegas Pro, that would allow me to create split-screens in a movie?

I am trying to create a front and back camera view from two cameras simultaneously.
I am considering the purchase of video editing software that goes beyond iphoto. I am told that Vegas Pro will do this. Does Final Cut? (I would prefer to work in a Mac program).

Andnick,
Thanks for your reply. My bad. My terminology was mistaken. I meant to ask whether I could do "picture-in-picture," so that I have a rear view camera (view) in a forward view clip. Does that make sense?

Multi Camera sequence went black (mostly)

So, I edited three separate multi camera sequences... They all looked great and I exported them through media encoder. When I went to look at my files one of the three had a really small file size and I noticed it was all black.
I went back into premeir pro cc and sure enough that multi cam seqence was all black as well (except about 3 seconds of footage right in the middle from two different cameras). Now when I go back to the original sequence (not the nested multi cam) It is just fine so I know the clips are still linked into PP. Also, I can make a new multi cam sequence from the original and it is just fine as well.
I think PP just F'd up... and unless someone can tell me how to go back in the file save history or something I'm sunk because premier auto saved when I last closed it. I'm seriously at a loss as to why this happened as it was just fine when I went to export it... or at least nearly immediately before. Why is there 3 seconds of footage in the middle of all black 47min sequence? and that 3 seconds is from inside of a 10 minute clip on the original un nested sequence so It's not as if just one video file was showing up.
Okay, so more than figuring out what happened I want to move on with my life. Is there anyway to copy the edit points onto a brand new multi cam sequence? Does anyone have any ideas what happened that I can undo?
Thanks,
Okay, so this is weird.... so, the original un nested sequence was 1:30 hours with 45 minutes of unused audio at the beginning. When I made my nested sequence for multi cam editing I selected the last 45 minutes and nested that. Everything functioned just fine, but somehow during export it took my multi cam sequence and added back in the 45 minutes of blank audio....so when I extended the multi cam sequence to 1:30 there was all my video... but my edits were all done on top of the audio. Seriously Stupid, and definitely a bug!!!
Is there any sort of file save history that I can revert to?

I accidentally found the auto-save folder which had 50+ versions of my project saved (thanks to no one, including Mark for pointing out that Premier Pro made new files each time it auto saved) And the issue is present in all of them, even back to a time when I am 100% positive I was working on the sequence inside of premier and it was displaying correctly.
So, that means that premier was not saving my file correctly, even though it was displaying correctly inside the program at that time. Then, when media encoder opened it for export the nested sequence was out of sync from the original, and today when I reopened it in premier it showed everything out of sync.
I'm using premier CC as a trial because I was considering upgrading from cs5 for the clip sync and increased features. Clip sync didn't work for my files so I had to use pluraleyes anyways and this bug I experienced today means that I lost 4hrs of work and 2 more hrs trying to figure out if I could recover my 4hrs of lost work. Now, I have to re-edit and I'll definitely be doing it in CS5

Multi-camera AVCHD editing workflow in Premiere CS4

I have a client project that has me wondering what workflow to use and I someone on this forum probably has the expertise to know the right solution. My requirements...
1. Client is recording a scene using 4 cameras at once, like a live TV show is shot, all AVCHD footage, 1920x1080px 17mbs, square pixels.
2. I must playback in Premiere the 4 video streams in real time and choose one camera to output, like a director would switch a live TV show. So, all 4 streams are playing in Premiere's multiple-camera editing windows. Each show I'm editing is about 1 hour long. The advantage of multi-camera editing of course is I can play all 4 cameras at once and live switch between them in Premiere to arrive at a 1 hour show in 1 hour of editing time.
3. Until I can upgrade my hardware that can possibly handle 4 streams of AVCHD, I'm stuck needing a workflow to convert the original AVCHD to some lowres format, edit those offline low res copies to get my edit decision list, and then reconnect the online HDV AVCHD clips to export through Media Encoder for a final production. My output format is Flash F4V 640x360 px square pixels for Internet playback.
4. Hardware: I'm running Windows 7 RC using CS4 Premiere 4.1, 4gb RAM, 2.4ghz dual-core processor with 64mb Intel turbo boost on a notebook PC. I do have 4 hard drives to hold each camera's footage on its own drive, and a fifth drive to ouput the edited version to, in addition to a drive to hold my OS and Premiere. The external drives are connected via eSATA to the notebook.
Question 1: what do you suggest as the lowres format I should convert my AVCHD footage to for multi-camera playback/editing in Premiere?
Question 2: do you think it's even possible to buy a desktop PC that can handle playback of 4 multicam AVCHD native format files in Premiere in real time? I'm concerned this may be too much for even the most powerful systems, and I would need to resort to editing lowres footage even with the most powerful desktop. As you know, decompressing one or two AVCHD streams is taxing to a PC so 4 at once is a challenge.
Question 3: an alternative workflow would be to feed live video out of the HDMI connectors on the cameras into four HDMI capture cards (Intensity Blackmagic) and capture uncompressed HDV bypassing AVCHD compression altogether, but the disk space required would be substantial. Does this make sense? I've even considered feeding those 4 HDMI feeds into a video switcher between the cameras and PCs but the cheapest solution I can find that can provide genlock (frame sync) between the 4 cameras for clean glitch-free switching is quite expensive, thousands of dollars invested.

I must playback in Premiere the 4 video streams in real time
Good luck with that. Many folks have trouble with even one stream.
edit those offline low res copies to get my edit decision list
I'm not sure offline editing with AVCHD will be possible because of the folder structure. You may not be able to 'replace' the lower res copies with AVCHD.
My output format is Flash F4V 640x360 px square pixels for Internet playback.
Oh, man. Shooting HD of any flavor is just overkill that adds unnecessary work to the process. Have your client shoot in DV.

Pluggin for Multi-Cam?

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